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Elevate Difference
Reviews tagged
Fast Feminism
Autonomedia has just published Fast Feminism, the latest book by the performance philosopher and associate professor in Political Science at York University, Shannon Bell. The book contains 198 pages, including thirty-one plates taken of Bell's genitalia during masturbation/ejaculation performances.
When Marina Abramović Dies
As someone with only one semester of art history under my belt, I find myself both interested and intimidated by the politics and practice of performance art. After reading this exhaustive biography of performing art legend Marina Abramović (who just wrapped up a stunning retrospective at the Museum of Modern Art in New York), my intimidation has been replaced by a strong desire to see Abramović's work.
Theology of the Body
In Theology of the Body, Donora Hillard employs a variety of styles and structures to present a complicated picture of the body, desire, and heterosexual relationships. She makes use of the language of theology and an unrelenting physicality in order to create a sense of faith not beyond the body, but through it of a human divinity that is also at once diabolic.
Natural Shielding Lotion
Finding hand lotion that works is probably not high on Maslow's hierarchy of needs. It actually seems frivolous in light of the images of suffering and destruction we've recently seen from Haiti and Chile. While I recognize that earthquakes aren't caused by global warming, lately I find myself balancing my own petty concerns against scientists' gloomy predictions of climate refugees becoming a real problem if this issue isn't addressed.
The Body Scoop for Girls: A Straight-Talk Guide to a Healthy, Beautiful You
I am skeptical of books that aim to educate teens about all things related to one's adolescent body, but The Body Scoop for Girls exceeded my expectations. Jennifer Ashton is a gynecologist and CBS medical correspondent who has written a user-friendly manual for young girls I wish I had read when I was entering the tricky terrain we call puberty.
Love Your Body, Love Your Life: 5 Steps to End Negative Body Obsession and Start Living Happily and Confidently
I have not had a good relationship with my body over the years. I was underweight during adolescence and early adulthood, then freaked out when I started to gain weight during my senior year of college. I also could not understand why my friends were telling me I looked fine when I felt I was overweight.
Exile and Pride: Disability, Queerness and Liberation
The best resistance literature describes a specific moment in history and is written within the context of an organized movement. As the disability movement gains more exposure and support, Eli Clare's Exile and Pride will join the list of classics among resistance literature.
The Ravenous Audience
I've always thought that at its best, art in some way disturbs us: out of complacency, ignorance, or innocence that has become a liability. The Ravenous Audience by Kate Durbin is a deliciously disturbing collection of poems that delivers a sensory-emotional feast ripe with smells, sounds, and flavors of the sacred and the profane.
In Bodies, Susie Orbach, best known for her continuous thread of psychoanalytic discussion of the body particularly as rooted in eating disorders and feminism, offers up a broader discussion of bodies in our time.


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Pixie Woods
Amusement park in Stockton, CA. Water park, slides, fire engine to climb on, merry go round, boat ride, train ride, snacks.Similar activities:
Riding Caltrain, Bubbles, Balloon toss game, Slip and Slide, Book: In the Realm of the Never Fairies: The Secret World of Pixie Hollow (Disney Fairies), Sweet Hearts, Ice Cube Bath, Bath Time Math Activity, Wintery Sun Catcher, Floating Play Dough, Pincushion: Great Gift Idea!, Penguin Songs Part 2! (Poetry), Polka-Dot Eggs, Peter Pan Birthday Party, Marco PoloFind Activities
Coloring book pages

subset: commoncrawl


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Experience | |
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Mr. Masnikoff grew up in Lighthouse Point, Florida. He graduated high school from Ely High School in 1992.In 1995, he graduated Nova Southeastern University... more
View all photos and/or videosLyle is dedicated to his clients and fights extremely hard for those workers injured on the job. He is extremely smart and a great lawyer. Lyle... more
Lyle is an excellent attorney and he is extremely knowledgable in all of his practice areas. He works hard for his clients and he is always... more


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Product Review (submitted on September 21, 2010):
I am an aesthetician and I use this product during many of my facials. My clients love the smell but most importantly the results. Skin always looks more radiant after use of this product.
Questions or Comments? Call us at 1.800.232.0398 or Email Us
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Thread: beginner guide :D
- 08-04-2011, 04:26 PM #1Member
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beginner guide :D
hi all my friend . i want to learn java im a good c++ programmer but i dont know nothing about java :D i dont know how can i compile a java source code !! please help me how
in my pc install
IntelliJ IDEA and Java SE Runtime Environment 7.0 x86 but i cant compile any source and i dont know what the program i need :( i think i need JDK or JSDK but i dont know what is it ? please tell me what does the software i need to compile my java project ? and if you can please send me url to download it :D i really tnx all of you
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You have download complete JSDK new version just go to Sun website now which is own by oracle Download and then you have to set up enviroment variable. Google it how to set up enviroment variable and then type Cmd. and type javac if you don't found and error like " javac is your external or enternal file " that mean your ready to go. And also downlaod some IDE like eclipse which is free.You don't need to use note pad you can use IDE.Good luck.
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Armageddon Online needs your support. A donation goes a long way on an independent site like this, and with continued efforts we can keep growing.
The Pacific Tsunami Warning Center said the quakes were unlikely to trigger a tsunami. The Oregon quake was initially reported as a magnitude 6.2 and the California one as a 5.3. Both were later downgraded. It was not immediately known whether the quakes caused any damage or casualties. (mexico earthquake info)


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Since the film tells a highly fictionalized story of the taming of the wild Kansas cattle town, it gives Flynn an opportunity to swashbuckle with a six-gun rather than his oft used sword. Michael Curtiz, a master (albeit tyranical) director keeps the story moving briskly with few slow spots. The outdoor color photography is excellent--and seldom does a studio set stand in for the great outdoors. The second unit photography blends almost seamlessly with the shots involving the stars--a definite plus in my book.
I especially like the interplay between Flynn and his sidekicks Hale and Williams--much of the fun can be found in their scenes together.
Also, I very much enjoy Ms. deHaviland's scenes where she combines spunkiness and a very attractive femininity. And, of course I can't ignore what probably is the greatest saloon brawl on film--by itself almost worth the price of admission!
Main Section of Teddy Blue's Bunkhouse.
Although it is unlikely that the western Dodge City (1939) would be included on any critic's ten best western lists, I personally consider it to be one of the most enjoyable super westerns ever made. (Of course, I was somewhat biased before I saw it for the first time--I already considered The Adventures of Robin Hood (1938) one my favorite films--and both films have the same stars and director.) Errol Flynn and Olivia deHaviland were in top form and the supporting cast, which includes Alan Hale and Guinn "Big Boy" Williams, all add to the fun.
Dodge City (1939)
Warner Brothers Pictures
Directed by Michael Curtiz
Screenplay by Robert Buckner
Music by Max Steiner
Principal cast: Errol Flynn, Olivia deHavilland, Ann Sheridan, Bruce Cabot, Frank McHugh, Alan Hale, Guinn Williams, John Litel, Henry Travers, Victor Jory, William Lundigan
Recommended Western Movies on Video


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The free app, launched on 22 October, enables the public to explore Arlington's grounds and find specific gravesites through a web browser or an Android, BlackBerry or iOS-based smartphone. Visitors can search for specific gravesites using known information about the buried soldier or physical location on the cemetery.
ANC Explorer also allows the public to view events taking place at the cemetery, browse points of interest such as notable graves and monuments, and generate front-and-back photos of a headstone or monument.
"This is just the beginning. In the future, ANC Explorer will offer features such as emergency and event notifications, restroom and water fountain locations, shuttle stops, and self-guided tours," said Maj. Nicholas R. Miller, Arlington National Cemetery Chief Information Officer, in a press release.
The app is powered by information from a single, verifiable database linked to the mapping system, developed by the management team of the cemetery over the past two years.
Teams of soldiers used a specially modified iPhone app to photograph every gravesite in the cemetery. The photographs and the GPS coordinates of the placement of each grave were synced with information from paper records and other databases to ensure names, rank and date-of-birth information were correct.
The geospatial mapping system also allows Arlington to conduct other daily operations such as public ceremonies, infrastructure repair, and grounds upkeep across the cemetery. Additionally, Arlington's scheduling system is linked to the mapping system, allowing schedulers to assign gravesites electronically.
The app can be downloaded from the ANC website here.


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Jun 27, 2013, 05:14 PM | #1 |
Who wants to buy Shadowrun? For Mac or Windows?
I'm curious, who here is excited about the upcoming cross-platform Shadowrun game? It comes out July 25th! And will you be getting it for Mac or Windows, or some other system (and why did you make that choice)? Also any comments from those who've played the alpha / beta are welcome!
I loved the old school SNES game, and I'm quite excited that the new game will be released on OSX, in less than a month!
37" Palladium iMac, 7.7 GHz 14-core i9, 256 Gb Ram, 666 TB HD, 4.5" Macbook Pro mini, 16 Gb iPad, 12 Amp Dust Devil vacuum, 84 inch steel frame bed, 473 inch house. Last edited by Sackvillenb; Jun 27, 2013 at 05:14 PM. Reason: spelling |
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Jun 27, 2013, 05:42 PM | #2 |
I'm pretty excited about it! I picked it up on Steam and will run it under OSX as long as it works well.
68,424 duplicate threads and counting... |
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Jun 27, 2013, 06:41 PM | #3 |
I'm hoping the Mac version will be "decent" because it was developed simultaneously with the Windows version, rather than being some 2-years-later crappy Cider Mac port.
Yes, the game caught my interest. But in the end, I never never NEVER buy version 1.0 games any more. Used to do open betas in years past, and I soured on the experience of playing rushed-to-release games. I shall wait for: #1) Positive reviews (of the gameplay itself) #2) The release of version 1.02 (that's the second cycle of updates to squash the bugs)
The Islamists have an infinite supply of Toyota pickup trucks. This war could take a long time. |
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Jun 27, 2013, 06:49 PM | #4 |
Don't hate the player. Hate the game.
68,424 duplicate threads and counting... |
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Jun 28, 2013, 10:56 AM | #5 | |
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Jul 1, 2013, 06:04 PM | #6 |
I'm not a fan of the original Shadowrun or anything, but I'm a huge RPG fan and liked the look of this game. I didn't kickstart it, but do intend to play it upon release. I will probably end up reviewing it, but no worries, it would be fair
Comprehensive Mac Gaming News & Coverage 27" iMac, Core i7 Quad 3.5Ghz, 16GB RAM, Nvidia 780m 4GB, 1TB Hard Drive |
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Jul 14, 2013, 01:13 AM | #7 |
Is this the same Shadowrun that was on Xbox? I'm getting my first mac in 3 days(MBA 13"/8/256). Is it going to be all multiplayer and will my MBA run the game?
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Jul 14, 2013, 03:18 AM | #8 |
I'm still undecided if I should get the MMORPG Shadowrun game or the single-player game. I kinda like the idea of both, but since I'm really not a big fan of the Shadowrun meme**, I likely will only end up buying one of the 2 games. I will either really really like it, or will absolutely be disappointed.
** I'm a fan of either hard-core ultra-math-nerd SciFi (e.g. Traveller) or high fantasy (e.g. AD&D, Tolkien, LOTR). Never been a fan of games that mixed up Orcs and Elves with plasma rifles (e.g. Warhammer, Shadowrun and similar games that try to do this)
The Islamists have an infinite supply of Toyota pickup trucks. This war could take a long time. |
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Jul 14, 2013, 07:04 AM | #9 | |
Edit: if you mean the same universe as the Xbox game, then yes. Though that game wasnt made by the original creator like this one. |
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Jul 14, 2013, 08:27 AM | #10 |
I'm definitely interested in this. I have never been a previous fan or really heard anything about the game until the kickstarter happened. But I'm a big RPG fan so looking forward to this.
Comprehensive Mac Gaming News & Coverage 27" iMac, Core i7 Quad 3.5Ghz, 16GB RAM, Nvidia 780m 4GB, 1TB Hard Drive |
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Jul 18, 2013, 02:58 AM | #11 |
I've readied my old Shadowrun Second Edition Rulebook for the release.
Ah, the good old pen&paper days.
sINGULARITY uNIVERSE |
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Jul 24, 2013, 10:06 AM | #12 | |
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Jul 24, 2013, 11:42 AM | #13 |
I bought the whatever version that was available before April 30 (I somehow missed the Kickstarter drive, which I would have backed in an instant).
It sounds like there were issues with getting the original Kickstarter backers DRM-free games, as Microsoft was demanding DRM (& the are the owner of the rights). I'm looking forward to this, it was "only" 20 years ago *this* month I picked up the SNES version, and got totally sucked in. The turn-based combat & Sci-Fi theme makes this a kick-ass RPG. |
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Jul 24, 2013, 06:51 PM | #14 |
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Jul 24, 2013, 07:05 PM | #15 | |
I could never find it in any of the game stores back then, and the only way I could play it was by getting my mom and dad to drive me 5 miles to this one Blockbuster that had it on the shelves. I rented it every chance I got for about a year, and never did finish it. At least not until I got my first computer when I was 18 and discovered emulators. I'll be picking this one up the moment it arrives on Steam. |
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Jul 25, 2013, 07:11 AM | #16 |
I just bought the pre-order this morning, with 6 hours to go until the game is released.
I loved this game on the SNES, even though I didn't finish it. I got stuck and couldn't figure out what I was supposed to do with the octopus on the shipping dock. I collected the ink in the bottle, but had no idea what to do after that.
MacBook 2.16Ghz, iMac 21.5", i5 WWE Stole My Camera! Check out my pictures of Hulk Hogan's new back tattoo! |
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Jul 25, 2013, 08:23 AM | #17 |
Couple of reviews:
RockPaperShotgun's Wot I Think. Taken from the perspective of someone who got into the series with the SNES original, like I did. Good news: It's awesome in just about every way. As he says, it was "exactly what he was expecting". Bad News: It's kinda short at 12-15 hours. Silver Lining: The editor is all around excellent, and already has a solid community springing up around it, and doing awesome things with it. With future expansions and community contributions soon to be a fairly regular thing, a slightly short initial campaign is only a problem in the short term. Eurogamers Review Pretty much backs up everything RPS said above. Final score: 8 out 10. It's out in 3 hours, folks! Can't wait! |
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Jul 25, 2013, 12:22 PM | #18 | |
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Jul 25, 2013, 01:59 PM | #19 | |
--Eric |
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Jul 25, 2013, 04:28 PM | #20 |
So we can't call it a port. What to call it when Win/Mac/Linux game is developed simultaneously? Parallel development? Paradev? Nah that sounds too boring.
The Islamists have an infinite supply of Toyota pickup trucks. This war could take a long time. |
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Jul 25, 2013, 05:16 PM | #21 |
Yes, I was! (a lucky you-know-what).
The cool thing about the emulators & Shadowrun...you can listen to the fantastic music that was on the SNES cart. I bought the Genesis version as well, but it didn't quite match up to the SNES version. That reminds me, I should be downloading it now! |
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Jul 25, 2013, 06:50 PM | #22 | |
...what does bother me is the forced linearity of what I've seen so far. One of the cool things about the SNES Shadowrun is that it made you figure everything out. You had to talk to people, gather evidence and information, explore to see what you could find. It was a fairly open ended game that didn't hold your hand at all. This? It's like you're jumping from one big scene to the next with very little in between. I'm kinda torn about it. On one hand, they nailed the look, the feel, the atmosphere, and the setting. The writing is pretty dang good, and the story is really interesting from what I've seen so far. Yeah, it's a little cliche, but it's done well. On the other hand, that whole feeling that you're being forced between scenes rather than being able to explore and take in all that ambiance the devs did such a good job on is letting the rest down in a big bad way. Really, I think it's suffering from Neverwinter Nights syndrome. It's a community platform first and foremost, a place for people to make their own stories and share them out on the internet. The campaign is there mostly to show off the capabilities of the engine and editor. They did a great job with it, all things considered, but... ...it's not the Shadowrun I was hoping for. It's not all doom and gloom and tears, though. Just like NWN 1 & 2, the expansions will probably be beyond awesome, and the community efforts will likely produce some awesome efforts. I'm planning on playing with it myself after I beat it. Still, I wish it was a better game right out the gate. |
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Jul 25, 2013, 08:43 PM | #23 |
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Jul 25, 2013, 09:22 PM | #24 |
Off to a bad start here. I get to the initial loading screen, which says "caching required assets" and then I get the spinning beach ball and the game stops responding. Five times in a row, reboot doesn't help. Re-downloading from Steam now.
Update: re-downloading didn't help. The game still freezes on the first screen. Here's hoping Harebrained has a support service. Update 2: here's the solution: http://steamcommunity.com/app/234650...4396599176418/ It works now Last edited by Confusius; Jul 25, 2013 at 10:02 PM. Reason: Update |
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Jul 25, 2013, 11:08 PM | #25 |
It's fine for me so far, but I've had rare issues with games running through Steam. However, even if you buy a game through Steam, you can run most Mac games without it:
1) Go to ~/Library/Application Support/Steam/SteamApps/common/Shadowrun Returns. 2) Click once on the game icon, and make an alias. 3) Drag the alias to wherever you normally keep games. 4) Use the alias to launch. No Steam required! This works with all Mac games I've bought on Steam that aren't first-party Valve titles such as Half-Life, Portal, etc. You could theoretically skip the part about making an alias and drag the game itself to wherever, but that would break updates. You still need to launch Steam (and the game has to be in the appropriate Steam folder) if you want to get updates. --Eric |
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19 comments found
Love the design and if you get around to adding a 4-column pricing table, I would be ready to buy it.
Thanks!! the pricing table is already in Short codes section, you can place it anywhere in the site:)
Sorry, don't know how I missed that..
Also, what type of contact form does this form use and does it have have form validation and does it work?
Yes the form is workable you just need to place your email Id and its validated as well
Thanks for the info…
awesome work deserve 5star
Superb! Very nice work Clean, neat and feature rich!
GLWS mate
The contact form is working ? How can I put my e-mail ?
Yes the form is workable, you can read in documentation how to Change the Email for Form
The contact form will not submit when the send button is pressed. I changed the email address in the contact_form.php and looked for further information in your documentation, but there was nothing included about the contact form.
I do get a generic small pop-up message if I leave a field empty and try to submit the form, but nothing happens at all when all the fields are filled.
Also, any chance you can add a nicer form validation for each of the contact form fields? Your template is outstanding in design and shortcodes, but the generic contact form pop-up just doesn't match the quality of the theme.
Could you open your browser's console and tell me what is the error? because with us all forms are working perfectly fine, Also i will update the design of Validation in coming Update
Error message 404 indicates that it was looking for the contact_form.php file in the inc/ folder located in the root directory.
However, for testing purposes, I have the template in a sub-directory (mywebsite.com/testing/inc/contact_form.php) and the contact form is trying to go to the inc/ folder in my root directory instead. I tried inserting an absolute URL in the action="" location but it is still looking in the root directory for the inc/ folder.
Please open the main javascript file "main.js", in "Contact us" section line 340, you'll find the path where the contact form is looking for it.
Super, that did it. Thanks…
Feel free if u have any issue. Please Rate the template if you like
Quando instalo aparace esse erro no wordpress Warning: POST Content-Length of 11638735 bytes exceeds the limit of 8388608 bytes in Unknown on line 0 O que fazer email@example.com
Please can you write in English what you are trying to say?
Plz download the latest Files. Let me know if you need any help
Good day, I am still waiting for your reply with respect to creating 2nd and 3rd level submenus. I have been trying but it is not working
I have submit the updated File at TF please wait till Monday. Once they approve the files you can download.
please i want to know if the updated file has been updated and when and where can i download the updated file from…. thank you
Yes its available, Just Download the Files again…Please rate the Item if you like
Ok i will download them and rate
Hi there…i'm missing icon and font files, should I re download?
i sent u the mail – thanks
Is it possible to include a contact form, where the user could add a file to his message?
Is it possible to use PHP scripts in this template?
I like it, really, but the two questions are important to me.
1: Contact Form is already there, just click on "Send us a Message" Button at the bottom, form will appear
2: yes you can Add PHP scripts
Hi again,
I've buyed your template and I'm very satisffied, but I have a problem.
I have to change fonts, because of the language – the fonts used in the theme include not all letters. Is there a simple way to do it without modyfying all the style sheets?
Probably I could use Google fonts with 'latin-ext'...
Regards marcholt
Or simply: how can I integrate the Lato font-family from Google Fonts into the theme? The font you've provided includes not all charakters, while the Google version (Latin) does it.
Thanks for your purchase. Fonts are defined in help document, also in CSS file you can give the fonts name. Feel free if you are facing any issue
There is only one stylesheet file you need to edit to change font, "css/style.css" is the file to edit, in Typography setup you'll just edit it to the desired font
Hi again,
Where in style.css can I change the yellow footer color into red (like in images/logo.png?
style.css is used for styling only while colors are created in 2 files (creative_theme.css, corporate_theme.css) , you'll find colors setup there
Please rate the template thanks
I've found it now, thank you.
I was wondering if you have an instructions on uploading the files to a server. I want to upload the multipage with out the splash page. I changed the index.html I sent you a more detailed email that might help explain better.
Thanks for your purchase, If you change index.html to your desired page then it must work. let me know if you need further help. Please rate the template.
I love the theme and site is working great except in IE 8. The header slider is not loading. Everything else is working great. Any Solutions
Thanks once again, unfortunatly the developer is on vacation i will try to manage that update once its done i will let you know. Please rate the template if you like the work
Hi there, I got a problem with the theme, can you please help me.
"Installing Theme from uploaded file: themeforest-6286593-studio9-multipurpose-html5-template.zip
Unpacking the package…
Installing the theme…
The package could not be installed. The theme is missing the style.css
Theme install failed."
How can I repair this? Thank you!
Hi Thanks for your purchase, It is a HTML template not a WordPress theme. WordPress version will be available in a week
Thank you for the response. I was hurrying with the buying. I'm pretty newbie here so I have some question if you may, how can I make the creative page be my index page and how can shortcodes help me and used them? Thank you a lot.
You can make the creative Page as your "index.html". About usage of short codes, they all are properly defined in CSS, and in documentation as well. Still if you feel any issue let me know please. Rate the Product if you like it. Thanks
Hi I just bought this Studio 9 and I am trying to install it to wordpress but it is telling me that: studio9/css template is missing. How can I fix this?
Hi thanks for your purchase, this is HTML template and not Wordpress Theme
The Wordpress is available now:
http://themeforest.net/item/studio9-one-page-wordpress-theme/7531571?WT.ac=new_item&WT.seg_1=new_item&WT.z_author=CodeSymbolHello. I just bought your theme. Do you now have a Wordpress Theme for your HTML template, like you stated you would have in previous comments?
The wp is under themeforest review will take some time:(
The Wordpress is available now:


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Knitting for Kitties
We are making blankets for cats and dogs!!! If you want to help please reply!!!
:muah::hug: |
There's already a thread here for this topic so it might make sense to join that one.
http://www.knittinghelp.com/forum/sh...d.php?t=102988 |
:muah: |
i would love to knit a blanket to a cat or dog.
What is the charity? Where do you send the blankets, and how big should they be?
I don't know what happened to the original poster, but you can check with your local shelter (if you have one) and see if they accept blanket donations. Mine was surprised when I showed up with the first one, but we have adopted several animals from them and I was confident that they would take them. (They did.) The Snuggles Project, which is where the idea for the Oddball Pet Snuggles project came from, has suggested sizes listed on their website. (We're doing 24" x 24" for the Oddball project.) Quote:
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Chic on a Shoestring is your entr├ā┬®e into the world of high fashion that will inspire you to create your own covetable clothes and accessories. Learn to transform ornate trims and vintage buttons into spectacular brooches, craft a favorite silk scarf into a chic top, or rework flea market shoes into fashionable showstoppers. With more than 40 unique and stylish ideas├óŌé¼ŌĆØincluding quick and easy no-sew projects├óŌé¼ŌĆØChic on a Shoestring will inspire first-time and experienced crafters alike.
PLEASE NOTE: The above numbers are estimations only. Please take into account garment size, lining and fabric width.


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Bonsai (盆栽?, lit. plantings in tray, from bon, a tray or low-sided pot and sai, a planting or plantings, pronunciation (help·info))[1] is a Japanese art form using miniature trees grown in containers. Similar practices exist in other cultures, including the Chinese tradition of penjing from which the art originated, and the miniature living landscapes of Vietnamese hòn non bộ. The Japanese tradition dates back over a thousand years, and has its own aesthetics and terminology.
"Bonsai" is a Japanese pronunciation of the earlier Chinese term penzai. A "bon" is a tray-like pot typically used in bonsai culture.[2] The word bonsai is often used in English as an umbrella term for all miniature trees in containers or pots. This article focuses on bonsai as defined in the Japanese tradition.
The purposes of bonsai are primarily contemplation (for the viewer) and the pleasant exercise of effort and ingenuity (for the grower).[3] By contrast with other plant cultivation practices, bonsai is not intended for production of food, for medicine, or for creating landscapes. Instead, bonsai practice focuses on long-term cultivation and shaping of one or more small trees growing in a container.
A bonsai is created beginning with a specimen of source material. This may be a cutting, seedling, or small tree of a species suitable for bonsai development. Bonsai can be created from nearly any perennial woody-stemmed tree or shrub species[4] that produces true branches and can be cultivated to remain small through pot confinement with crown and root pruning. Some species are popular as bonsai material because they have characteristics, such as small leaves or needles, that make them appropriate for the compact visual scope of bonsai.
The source specimen is shaped to be relatively small and to meet the aesthetic standards of bonsai. When the candidate bonsai nears its planned final size it is planted in a display pot, usually one designed for bonsai display in one of a few accepted shapes and proportions. From that point forward, its growth is restricted by the pot environment. Throughout the year, the bonsai is shaped to limit growth, redistribute foliar vigor to areas requiring further development, and meet the artist's detailed design.
The practice of bonsai is sometimes confused with dwarfing, but dwarfing generally refers to research, discovery, or creation of plant cultivars that are permanent, genetic miniatures of existing species. Bonsai does not require genetically dwarfed trees, but rather depends on growing small trees from regular stock and seeds. Bonsai uses cultivation techniques like pruning, root reduction, potting, defoliation, and grafting to produce small trees that mimic the shape and style of mature, full-size trees.
The Japanese art of bonsai originally derived from the Chinese practice of penjing.[7] From the 6th century onwards, Imperial embassy personnel and Buddhist students from Japan had been visiting and returning from mainland China, bringing back souvenirs that included container plantings.[8] At least 17 diplomatic missions were specifically sent from Japan to the Tang court between the years 603 and 839.[8]
Japan's historical Shōsōin, which houses 7th, 8th, and 9th-century artifacts including material from Japan's Tempyō period, contains an elaborate miniature tree display dating from this time.[9] This artifact is composed of a wooden tray serving as a base, carved wooden mountain models, and sand portraying a riverine sandbar. Small tree sculptures in silver metal are meant to be placed in the sand, to produce a table-top depiction of a treed landscape. While this display is closer to the Japanese bonkei display than to a living bonsai, it does reflect the period's interest in miniature landscapes.
From about the year 970 comes the first lengthy work of fiction in Japanese, Utsubo Monogatari (The Tale of the Hollow Tree), which includes this passage: "A tree that is left growing in its natural state is a crude thing. It is only when it is kept close to human beings who fashion it with loving care that its shape and style acquire the ability to move one." The idea, therefore, was already established by this time that natural beauty becomes true beauty only when modified in accordance with a human ideal.[10]
In the medieval period, recognizable bonsai began to appear in handscroll paintings like the Ippen shonin eden (1299).[9] Saigyo Monogatari Emaki was the earliest known scroll to depict dwarfed potted trees in Japan. It dates from the year 1195, in the Kamakura period. Wooden tray and dish-like pots with dwarf landscapes on modern-looking wooden shelf/benches are shown in the 1309 Kasuga-gongen-genki scroll. These novelties show off the owner's wealth and were probably exotics imported from China.[11]
Chinese Chan Buddhist monks also came over to teach at Japan's monasteries, and one of the monks' activities was to introduce political leaders of the day to the various arts of miniature landscapes as ideal accomplishments for men of taste and learning.[12][13]
The c.1300 rhymed prose essay, Bonseki no Fu (Tribute to Bonseki) written by celebrated priest and master of Chinese poetry, Kokan Shiren (1278–1346), outlined the aesthetic principles for what would be termed bonsai, bonseki and garden architecture itself. At first, the Japanese used miniaturized trees grown in containers to decorate their homes and gardens.[13][14][15]
Criticism of the interest in curiously twisted specimens of potted plants shows up in one chapter of the 243-chapter compilation Tsurezuregusa (c.1331). This work would become a sacred teaching handed down from master to student, through a limited chain of poets (some famous), until it was at last widely published in the early 17th century. Before then, the criticism had only a modest influence on dwarf potted tree culture.
In 1351, dwarf trees displayed on short poles were portrayed in the Boki Ekotoba scroll.[16] Several other scrolls and paintings also included depictions of these kinds of trees. Potted landscape arrangements made during the next hundred years or so included figurines after the Chinese fashion in order to add scale and theme. These miniatures would eventually be considered garnishes decidedly to be excluded by Japanese artists who were simplifying their creations in the spirit of Zen Buddhism.[17]
Around the 14th century, the term for dwarf potted trees was "the bowl's tree" (鉢の木, hachi-no-ki).[18] This denoted the use of a fairly deep pot, as opposed to the shallow pot denoted by the term bonsai.
Hachi-No-Ki (The Potted Trees) is also the title of a Noh play by Zeami Motokiyo (1363–1444), based on a story from c. 1383. It tells of an impoverished samurai who sacrifices his three last dwarf potted trees as firewood to provide warmth for a traveling monk on a winter night. The monk is an official in disguise who later rewards the samurai by giving him three lands whose names include the names of the three types of trees the samurai burnt: ume (plum), matsu (pine), and sakura (cherry). In later centuries, woodblock prints by several artists would depict this popular drama. There was even a fabric design of the same name.
Stories referring to bonsai began to appear more frequently by the 17th century. Shogun Tokugawa Iemitsu (r. 1623-1651) was a hachi-no-ki enthusiast. A story tells of Okubo Hikozemon (1560–1639), councilor to the shogun, who threw one of Iemitsu's favorite trees away in the garden—in sight of the shogun—in order to dissuade him from spending so much time and attention on these trees. In spite of the servant's efforts, Iemitsu never gave up his beloved art form. Another story from this time tells of a samurai's gardener who killed himself when his master insulted a hachi-no-ki of which the artisan was especially proud.[19]
Bonsai dating to the 17th century have survived to the present. One of the oldest-known living bonsai trees, considered one of the National Treasures of Japan, is in the Tokyo Imperial Palace collection.[20] A five-needle pine (Pinus pentaphylla var. negishi) known as Sandai-Shogun-No Matsu is documented as having been cared for by Tokugawa Iemitsu. [20][21] The tree is thought to be at least 500 years old and was first trained as a bonsai by, at latest, the year 1610.[20] The earliest known report by a Westerner of a Japanese dwarf potted tree was made in 1692 by George Meister.[22]
Chinese bonsai containers exported to Japan during the 17th and 18th centuries would become referred to as Kowatari ("old crossing"). These were made between 1465 and about 1800. Many came from Yixing in Jiangsu province—unglazed and usually purplish-brown—and some others from around Canton, in particular, during the Ming dynasty.[23][24] Miniature potted trees were called hachi-ue in a 1681 horticulture book. This book also stated that everyone at the time grew azaleas, even if the poorest people had to use an abalone shell as a container.[25][26] Torii Kiyoharu's use of woodblock printing in Japan depicted the dwarf potted trees from horticultural expert Itō Ihei's nursery.[27]
By the end of the 18th century, bonsai cultivation was quite widespread and had begun to interest the public. In the Tenmei era (1781–88), an exhibit of traditional dwarf potted pines began to be held every year in Kyoto. Connoisseurs from five provinces and neighboring areas would bring one or two plants each to the show in order to submit them to visitors for ranking.[28]
In Itami, Hyogo (near Osaka), a group of scholars of Chinese arts gathered in the early 19th century to discuss recent styles in the art of miniature trees. Their version of these, which had been previously called "Bunjin Ueki," "Bunjin Hachiue," or other terms, were renamed "bonsai" (the Japanese pronunciation of the Chinese term penzai). This term had the connotation of a shallower container in which the Japanese could now more successfully style small trees. The term "bonsai," however, would not become regularly used in describing their dwarf potted trees for nearly a century. Many others terms and compositions adopted by this group were derived from Kai-shi-en Gaden, the Japanese version of Jieziyuan Huazhuan (Manual of the Mustard Seed Garden).[29][30][31][32]
In 1829, a significant book that first established classical bonsai art, Somoku Kinyo Shu (A Colorful Collection of Trees and Plants/Collection of tree leaves), was published. It includes the basic criteria for the ideal form of the classical pine bonsai, in detail and with illustrations.[33] That same year, small tako-tsuki (octopus-styled) trees with long, wavy-branches began to be offered by a grower in Asakusa Park, a north-eastern Edo suburb. Within 20 years that neighborhood became crowded with nurseries selling bonsai.[34][35] The three-volume Kinsei-Jufu, possibly the first book of bonsai, tools, and pots, dates from 1833.[36]
Numerous artists of the 19th century depicted dwarf potted trees in woodblock prints, including Yoshishige (who pictured each of the fifty-three classic stations of the Tokaido (road) as miniature landscape) and Kunisada (who included mostly hachi-no-ki in some four dozen prints).[37] The earliest known photograph from Japan depicting a dwarf potted tree dates from c. 1861 by Pierre Rossier.[38]
On October 13, 1868, the Meiji Emperor moved to his new capital in Tokyo. Bonsai were displayed both inside and outside Meiji Palace, where they have since remained important in affairs of the Palace. Bonsai placed in the grand setting of the Imperial Palace had to be "Giant Bonsai," large enough to fill the grand space.[39][40][41] The Meiji Emperor encouraged interest in bonsai. Government officials who did not appreciate bonsai fell out of favor. Soon all members of the ministry had bonsai whether they liked the tradition or not. Prince Itoh was an exception: Any bonsai that the emperor gave him were then passed to Kijoji Itoh. Kijoji Itoh was a statesman of great influence behind the scenes, and a noted bonsai collector who conducted research and experiments on these bonsai.[42][43]
Bonsai shaping aesthetics and techniques were becoming more sophisticated. By the late 1860s, thick combed and wetted hemp fibers were used to roughly shape the trunk and branches of miniature trees by pulling and tying them. The process was tedious and bothersome, and the final product was unsightly. Tips of branches would only be opened flat. Long, wavy-branched tako (octopus)-style trees were mass-produced and designed in the [renamed capital] Tokyo for the increasing foreign trade, while the more subtle and delicate bunjin-style trees designed in Kyoto and Osaka were for use in Japan. Tokyo preferred big trunks out of proportion and did not approve of Kyoto's finely designed slender trunks. (This cultural rivalry would continue for a century.)[44][45][46]
Pots exported from China between 1816 and 1911 (especially the late 19th century) were called Nakawatari (middle-crossing) or Chuwatari, shallow rectangular or oval stoneware with carved feet and drainage holes. Unglazed pots of this type were used at ancestral shrines and treasured by the Chinese. After the mid-century, certain Japanese antiquities dealers imported them and instant popular approval for this type of container for bonsai created a huge demand. As a consequence, orders came from Japan to Yixing pottery centers specifically to make bonsai pots.[47][48]
Through the later 19th century, Japanese participation in various international exhibitions introduced many in the U.S. and Europe to dwarf potted trees. Specimens from the displays went into Western hands following the closing of the fairs.[49] Japanese immigrants to the U.S. West Coast and Hawaii Territory brought plants and cultivation experience with them. Export nurseries, the most notable one being the Yokohama Gardeners Association, provided increasingly good quality dwarf potted trees for Americans and Europeans—even if the buyers did not have enough information or experience to actually keep the trees alive long-term.[50][51]
An Artistic Bonsai Concours was held in Tokyo in 1892 followed by the publication of a three-volume commemorative picture book. This demonstrated a new tendency to see bonsai as an independent art form.[52] In 1903, the Tokyo association Jurakukai held showings of bonsai and ikebana at two Japanese-style restaurants. Three years later, Bonsai Gaho (1906 to c.1913), became the first monthly magazine on the subject.[53] It was followed by Toyo Engei and Hana in 1907, and Bonsai in 1921.[54]
By 1907, "on the outskirts of Tokio [dwarf] tree artists have formed a little colony of from twenty to thirty houses, and from this centre their work finds its way to all parts of the world." "Its secrets are handed down from father to son in a few families, and are guarded with scrupulous care."[55]
Count Okuma (1838–1922) maintained a famed collection of dwarf pines and dwarf plum trees.[56]
In 1910, shaping with wire was described in the Sanyu-en Bonsai-Dan (History of Bonsai in the Sanyu nursery). Zinc-galvanized steel wire was initially used. Expensive copper wire was only used for trees that had real potential.[57][58] Between 1911 and about 1940, mass-produced containers were exported from Yixing, China, and made to the specifications of Japanese dealers. These were called Shinto (new crossing or arrival) or Shin-watare. These were made for increasing numbers of enthusiasts. Some containers, including primitive style ones, were also being made in Formosa.[59][60]
By 1914, "at the N.E. corner of Shiba Park is a permanent bazaar (the first of its kind established in Tokyo) where hosts of native-made gimcracks can be bought at fixed prices. The exhibits of potted plants and dwarf trees held here from time to time attract lovers of such things." In the same year, the first national annual bonsai show was held (an event repeated annually through 1933) in Tokyo's Hibiya Park.[61][62] During this period, the tokonoma in formal rooms and tea rooms became the main place for bonsai display. The shaped trees now shared space with other items such as scrolls, incense burners, Buddhist statues and tea ceremony implements.[63]
The first issue of Bonsai magazine was published in 1921 by Norio Kobayashi (1889–1972). This influential periodical would run for 518 consecutive issues. Copper wire was being extensively used by this time. Major changes to a tree's shape could now be accomplished with wiring. Trees could be precisely and aesthetically wired, and then sold immediately. A greater number of both collected and nursery trees could now be trained for bonsai. The number of hobbyists increased due to the increased ability to style with wire, but there was also an increase in damaged or scarred trees.[64][65]
The 1923 Great Kanto Earthquake and resulting fire devastated Tokyo, and gutted the downtown area where many bonsai specimens were grown. And so, two years later, a group of thirty families of downtown Tokyo professional growers established the Ōmiya Bonsai Village, northeast of the capital.[66] The first great annual public exhibition of trees was held at the Asahi Newspaper Hall in Tokyo in 1927.[67] The first of the very prestigious Kokufu-ten exhibitions were held in Tokyo's Ueno Park, beginning in 1934.[68] By the following year, tokonoma display principles allowed for bonsai to be shown for the tree's individual beauty, not just for its spiritual or symbolic significance.[69]
Toolsmith Masakuni I (1880–1950) helped design and produce the first steel tools specifically made for the developing requirements of bonsai styling.[70]
By 1940, there were about 300 bonsai dealers in Tokyo, some 150 species of trees were being cultivated, and thousands of specimens annually were shipped to Europe and America. The first major book on the subject in English was published in the Japanese capital: Dwarf Trees (Bonsai) by Shinobu Nozaki (1895–1968).[71] The first bonsai nurseries and clubs in the Americas were started by first and second-generation Japanese immigrants.
Caretaker of the Imperial bonsai collection, Kyuzo Murata (1902–1991), was one of very few persons allowed to take care of bonsai during the Pacific War. He gathered together and preserved many trees from the other Omiya growers and would water them under the protection of night. Throughout 1945, many old trees were the smallest casualties of the spring and summer napalm bombing of Tokyo (esp. March 9/10) and sixty-six other cities. Gardeners protected the Imperial collection trees from fire by pouring water over them after the Palace caught fire when neighboring areas were bombed on May 25/26.[72] Following the surrender of Japan, there began the post-war re-evaluation and reviving of damaged collections of trees—including the Imperial—which would continue for over a decade as Japan was rebuilt. Many of the Omiya growers did not continue their vocation.
During the Allied Occupation of Japan (through 1952) U.S. officers and their wives could take courses in bonsai, bonkei, ikebana, and other traditional arts and crafts as arranged by General MacArthur's headquarters. Many of the older and limited varieties of trees were no longer available, and the bonsai considered in fashion changed partly because of this shortage. Copper wire now largely replaced ordinary iron wire for shaping the better trees, but the latter still would be used for mass-produced commercial bonsai.[40][73][74][75]
Following World War II, a number of trends made the Japanese tradition of bonsai increasingly accessible to Western and world audiences. One key trend was the increase in the number, scope, and prominence of bonsai exhibitions. For example, the Kokufu-ten bonsai displays reappeared in 1947 after a four-year cancellation and became annual affairs. These displays continue to this day, and are by invitation only for eight days in February.[68] In October 1964, a great exhibition was held in Hibya Park by the private Kokufu Bonsai Association, reorganized into the Nippon Bonsai Association, to mark the Tokyo Olympics. A commemorative album titled Gems of Bonsai and Suiseki was published in Japanese and English. Other countries began presenting bonsai exhibitions as well, with recurring events now taking place in Taiwan and a number of other Asian countries, Australia, the United States, several European countries, and others.[76] Currently, Japan continues to host regular exhibitions with the world's largest numbers of bonsai specimens and the highest recognized specimen quality.
Another key trend was the increase in books on bonsai and related arts, now being published for the first time in English and other languages for audiences outside Japan. In 1952, Yuji Yoshimura, son of a leader in the Japanese bonsai community, collaborated with German diplomat and author Alfred Koehn to give bonsai demonstrations. The first formal bonsai courses opened to the public and outsiders in Tokyo. Koehn had been an enthusiast before the war, and his 1937 book Japanese Tray Landscapes had been published in English in Peking. Yoshimura's 1957 book The Art of Bonsai, written in English with his student Giovanna M. Halford, addressed both cultivation and aesthetic aspects of bonsai growing and went on to be called the "classic Japanese bonsai bible for westerners" with over thirty printings.[77]
The related art of saikei was introduced to English-speaking audiences in 1963 in Kawamoto and Kurihara's Bonsai-Saikei. This book described tray landscapes made with younger plant material than was traditionally used in bonsai, providing an alternative to the use of large, older plants, few of which had escaped war damage.
Other works in Japanese and English had been published by this time, and afterward a tremendous number of books saw print. Translations and original volumes in over two dozen languages were published over the following decades.[78] Once Japanese was no longer the sole language of bonsai, the number of clubs outside of Asia increased and interaction increased between members of all levels of experience.
A third trend was the increasing availability of expert bonsai training, at first only in Japan and then more widely. In 1967 the first group of Westerners studied at an Ōmiya nursery. Returning to the U.S., these people established the American Bonsai Society. Other groups and individuals from outside Asia then visited and studied at the various Japanese nurseries, occasionally even apprenticing under the masters. These visitors brought back to their local clubs the latest techniques and styles, which were then further disseminated. Japanese teachers also traveled widely, bringing hands-on bonsai expertise to all six continents.[74][76][79]
By the beginning of the 1970s, these trends were beginning to merge. A large display of bonsai and suiseki was held as part of Expo '70, and formal discussion was made of an international association of enthusiasts. Three monthly magazines were started this year: Bonsai Sekai, Satsuki Kenkyu, and Shizen to Bonsai. In 1975, the first Gafu-ten (Elegant-Style Exhibit) of shohin bonsai (13-25 cm (9.84 in) (5–10 in) tall) was held. So was the first Sakufu-ten (Creative Bonsai Exhibit), the only event in which professional bonsai growers exhibit traditional trees under their own names rather than under the name of the owner. It was organized by Hideo Kato (1918–2001) at Daimaru Department Store in Tokyo.[80]
The First World Bonsai Convention was held in Osaka during the World Bonsai and Suiseki Exhibition in 1980.[81] Nine years later, the first World Bonsai Convention was held in Omiya and the World Bonsai Friendship Federation (WBFF) was inaugurated. These conventions attracted several hundreds of participants from dozens of countries and have since been held every four years at different locations around the globe: 1993, Orlando, Florida; 1997, Seoul, Korea; 2001, Munich, Germany; 2005, Washington, D.C.; 2009, San Juan, Puerto Rico.[81][82]
The final trend supporting world involvement in bonsai is the widening availability of specialized bonsai plant stock, soil components, tools, pots, and other accessory items. Bonsai nurseries in Japan advertise and ship specimen bonsai world-wide. Most countries have local nurseries providing plant stock as well, although finding specimen bonsai is more difficult outside Japan and bonsai enthusiasts will often start with local trees that have not been pre-shaped into candidate bonsai. Japanese bonsai soil components, such as Akadama clay, are available worldwide, and local suppliers also provide similar materials in many locations. Specialized bonsai tools are widely available from Japanese and Chinese sources. Potters around the globe provide material to hobbyists and specialists in many countries.[83]
Bonsai has now definitively reached a world-wide audience. There are over twelve hundred books on bonsai and the related arts in at least twenty-six languages available in over ninety countries and territories.[72][84] A few dozen magazines in over thirteen languages are in print.[53] Several score of club newsletters are available on-line, and there are at least that many discussion forums and blogs.[85] Educational videos and just the appearance of dwarf potted trees in films and on television reach a wide audience.[86] There are at least a hundred thousand enthusiasts in some fifteen hundred clubs and associations worldwide, as well as over five million unassociated hobbyists.[87] Plant material from every location is being trained into bonsai and displayed at local, regional, national, and international conventions and exhibitions for enthusiasts and the general public.
Bonsai cultivation and care requires techniques and tools that are specialized to support the growth and long-term maintenance of trees in small containers.
All bonsai start with a specimen of source material, a plant that the grower wishes to train into bonsai form. Bonsai practice is an unusual form of plant cultivation in that growth from seeds is rarely used to obtain source material. To display the characteristic aged appearance of a bonsai within a reasonable time, the source plant is often mature or at least partially grown when the bonsai creator begins work. Sources of bonsai material include:
The practice of bonsai development incorporates a number of techniques either unique to bonsai or, if used in other forms of cultivation, applied in unusual ways that are particularly suitable to the bonsai domain. These techniques include:
Small trees grown in containers, like bonsai, require specialized care. Unlike houseplants and other subjects of container gardening, tree species in the wild, in general, grow roots up to several meters long and root structures encompassing several thousand liters of soil. In contrast, a typical bonsai container is under 25 centimeters in its largest dimension and 2 to 10 liters in volume. Branch and leaf (or needle) growth in trees is also of a larger scale in nature. Wild trees typically grow 5 meters or taller when mature, whereas the largest bonsai rarely exceed 1 meter and most specimens are significantly smaller. These size differences affect maturation, transpiration, nutrition, pest resistance, and many other aspects of tree biology. Maintaining the long-term health of a tree in a container requires some specialized care techniques:
Bonsai aesthetics are the aesthetic goals characterizing the Japanese tradition of growing an artistically shaped miniature tree in a container. Many Japanese cultural characteristics, in particular the influence of Zen Buddhism and the expression of Wabi-sabi,[90] inform the bonsai tradition in Japan. Established art forms that share some aesthetic principles with bonsai include penjing and saikei. A number of other cultures around the globe have adopted the Japanese aesthetic approach to bonsai, and, while some variations have begun to appear, most hew closely to the rules and design philosophies of the Japanese tradition.
Over centuries of practice, the Japanese bonsai aesthetic has encoded some important techniques and design guidelines. Like the aesthetic rules that govern, for example, Western common practice period music, bonsai's guidelines help practitioners work within an established tradition with some assurance of success. Simply following the guidelines alone will not guarantee a successful result. Nevertheless, these design rules can rarely be broken without reducing the impact of the bonsai specimen. Some key principles in bonsai aesthetics include:
A bonsai display presents one or more bonsai specimens in a way that allows a viewer to see all the important features of the bonsai from the most advantageous position. That position emphasizes the bonsai's defined "front", which is designed into all bonsai. It places the bonsai at a height that allows the viewer to imagine the bonsai as a full-size tree seen from a distance, siting the bonsai neither so low that the viewer appears to be hovering in the sky above it nor so high that the viewer appears to be looking up at the tree from beneath the ground. Noted bonsai writer Peter Adams recommends that bonsai be shown as if "in an art gallery: at the right height; in isolation; against a plain background, devoid of all redundancies such as labels and vulgar little accessories."[92]
For outdoor displays, there are few aesthetic rules. Many outdoor displays are semi-permanent, with the bonsai trees in place for weeks or months at a time. To avoid damaging the trees, therefore, an outdoor display must not impede the amount of sunlight needed for the trees on display, must support watering, and may also have to block excessive wind or precipitation.[93] As a result of these practical constraints, outdoor displays are often rustic in style, with simple wood or stone components. A common design is the bench, sometimes with sections at different heights to suit different sizes of bonsai, along which bonsai are placed in a line. Where space allows, outdoor bonsai specimens are spaced far enough apart that the viewer can concentrate on one at a time. When the trees are too close to each other, aesthetic discord between adjacent trees of different sizes or styles can confuse the viewer, a problem addressed by exhibition displays.
Exhibition displays allow many bonsai to be displayed in a temporary exhibition format, typically indoors, as would be seen in a bonsai design competition. To allow many trees to be located close together, exhibition displays often use a sequence of small alcoves, each containing one pot and its bonsai contents. The walls or dividers between the alcoves make it easier to view only one bonsai at a time. The back of the alcove is a neutral color and pattern to avoid distracting the viewer's eye. The bonsai pot is almost always placed on a formal stand, of a size and design selected to complement the bonsai and its pot.[94]
Indoors, a formal bonsai display is arranged to represent a landscape, and traditionally consists of the featured bonsai tree in an appropriate pot atop a wooden stand, along with a shitakusa (companion plant) representing the foreground, and a hanging scroll representing the background. These three elements are chosen to complement each other and evoke a particular season, and are composed asymmetrically to mimic nature.[95] When displayed inside a traditional Japanese home, a formal bonsai display will often be placed within the home's tokonoma or formal display alcove. An indoor display is usually very temporary, lasting a day or two, as most bonsai are intolerant of indoor conditions and lose vigor rapidly within the house.
A variety of informal containers may house the bonsai during its development, and even trees that have been formally planted in a bonsai pot may be returned to growing boxes from time to time. A large growing box can house several bonsai and provide a great volume of soil per tree to encourage root growth. A training box will have a single specimen, and a smaller volume of soil that helps condition the bonsai to the eventual size and shape of the formal bonsai container. There are no aesthetic guidelines for these development containers, and they may be of any material, size, and shape that suit the grower.
Completed trees are grown in formal bonsai containers. These containers are usually ceramic pots, which come in a variety of shapes and colors and may be glazed or unglazed. Unlike many common plant containers, bonsai pots have drainage holes in the bottom surface to complement fast-draining bonsai soil, allowing excess water to escape the pot. Growers cover the holes with a screening to prevent soil from falling out and to hinder pests from entering the pots from below. Pots usually have vertical sides, so that the tree's root mass can easily be removed for inspection, pruning, and replanting, although this is a practical consideration and other container shapes are acceptable.
There are alternatives to the conventional ceramic pot. Multi-tree bonsai may be created atop a fairly flat slab of rock, with the soil mounded above the rock surface and the trees planted within the raised soil. In recent times, bonsai creators have also begun to fabricate rock-like slabs from raw materials including concrete[96] and glass-reinforced plastic.[97] Such constructed surfaces can be made much lighter than solid rock, can include depressions or pockets for additional soil, and can be designed for drainage of water, all characteristics difficult to achieve with solid rock slabs. Other unconventional containers can also be used, but in formal bonsai display and competitions in Japan, the ceramic bonsai pot is the most common container.
For bonsai being shown formally in their completed state, pot shape, color, and size are chosen to complement the tree as a picture frame is chosen to complement a painting. In general, containers with straight sides and sharp corners are used for formally shaped plants, while oval or round containers are used for plants with informal designs. Many aesthetic guidelines affect the selection of pot finish and color. For example, evergreen bonsai are often placed in unglazed pots, while deciduous trees usually appear in glazed pots. Pots are also distinguished by their size. The overall design of the bonsai tree, the thickness of its trunk, and its height are considered when determining the size of a suitable pot.
Some pots are highly collectible, like ancient Chinese or Japanese pots made in regions with experienced pot makers such as Tokoname, Japan or Yixing, China. Today many potters worldwide produce pots for bonsai.[98]
The Japanese tradition describes bonsai tree designs using a set of commonly understood, named styles.[99] The most common styles include formal upright, informal upright, slanting, semi-cascade, cascade, raft, literati, and group/forest. Less common forms include windswept, weeping, split-trunk, and driftwood styles.[3][100] These terms are not mutually exclusive, and a single bonsai specimen can exhibit more than one style characteristic. When a bonsai specimen falls into multiple style categories, the common practice is to describe it by the dominant or most striking characteristic.
A frequently used set of styles describes the orientation of the bonsai tree's main trunk. Different terms are used for a tree with its apex directly over the center of the trunk's entry into the soil, slightly to the side of that center, deeply inclined to one side, and inclined below the point at which the trunk of the bonsai enters the soil.[101]
A number of styles describe the trunk shape and bark finish. For example, the deadwood bonsai styles identify trees with prominent dead branches or trunk scarring.[106]
Although most bonsai trees are planted directly into the soil, there are styles describing trees planted on rock.[108]
While the majority of bonsai specimens feature a single tree, there are well-established style categories for specimens with multiple trunks.[109]
A few styles do not fit into the preceding categories. These include:
Japanese bonsai exhibitions and catalogs frequently refer to the size of individual bonsai specimens by assigning them to size classes (see table below). Not all sources agree on the exact sizes or names for these size ranges, but the concept of the ranges is well-established and useful to both the cultivation and the aesthetic understanding of the trees. A photograph of a bonsai may not give the viewer an accurate impression of the tree's real size, so printed documents may complement a photograph by naming the bonsai's size class. The size class implies the height and weight of the tree in its container.
In the very largest size ranges, a recognized Japanese practice is to name the trees "two-handed", "four-handed", and so on, based on the number of men required to move the tree and pot. These trees will have dozens of branches and can closely simulate a full-size tree. The very largest size, called "imperial", is named after the enormous potted trees of Japan's Imperial Palace.[113]
At the other end of the size spectrum, there are a number of specific techniques and styles associated solely with the smallest common sizes, mame and shito. These techniques take advantage of the bonsai's minute dimensions and compensate for the limited number of branches and leaves that can appear on a tree this small.
Common names for bonsai size classes[114] | ||
Large bonsai | ||
Common name | Size class | Tree Height |
Imperial bonsai | Eight-handed | 60–80 in (152–203 cm) |
Hachi-uye | Six-handed | 40–60 in (102–152 cm) |
Dai | Four-handed | 30–48 in (76–122 cm) |
Omono | Four-handed | 30–48 in (76–122 cm) |
Medium-size bonsai | ||
Common name | Size class | Tree Height |
Chiu | Two-handed | 16–36 in (41–91 cm) |
Chumono | Two-handed | 16–36 in (41–91 cm) |
Katade-mochi | One-handed | 10–18 in (25–46 cm) |
Miniature bonsai | ||
Common name | Size class | Tree Height |
Komono | One-handed | 6–10 in (15–25 cm) |
Shohin | One-handed | 5–8 in (13–20 cm) |
Mame | Palm size | 2–6 in (5–15 cm) |
Shito | Fingertip size | 2–4 in (5–10 cm) |
Keshitsubo | Poppy-seed size | 1–3 in (3–8 cm) |
The Japanese tradition of bonsai does not include indoor bonsai, and bonsai appearing at Japanese exhibitions or in catalogs have been grown outdoors for their entire lives. In less-traditional settings, including climates more severe than Japan's, indoor bonsai may appear in the form of potted trees cultivated for the indoor environment.[115]
Traditionally, bonsai are temperate climate trees grown outdoors in containers.[116] Kept in the artificial environment of a home, these trees weaken and die. But a number of tropical and sub-tropical tree species will survive and grow indoors. Some of these are suited to bonsai aesthetics and can be shaped much as traditional outdoor bonsai are.
(help)Definitions from Wiktionary | |
News stories from Wikinews | |
Quotations from Wikiquote | |
Source texts from Wikisource | |
Media from Commons | |
Textbooks from Wikibooks | |
Learning resources from Wikiversity |


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B-Sides: On the latest record, Gypsy Punks, the band is bringing in new musical elements, like reggae and salsa. How do you make sure you remain true to your roots?
Eugene Hutz: I know that the main legs on which Gogol horse does its drunk gallop always will be Eastern Gypsy European two-step. As far as drifting away from our roots, I don't think that will ever happen. First thing when I pick up guitar or if I have three shots of Cognac and start dancing, that will be exactly in that manner.
Are there many radio stations that play your music?
It's usually college radio. When we started, the first five years straight the only thing we heard was [that] it was completely unmarketable and completely un-commercial, and how this is completely un-American and how can this possibly make any road in American audience? But you know how much fuck we give about these people? And five years later, what do we have? New York Times, and London Times and Moscow Times writing: Gogol Bordello, leaders of Gypsy-punk revolution.
A lot of America's culture is mass-produced; is that why Gogol's originality has become so attractive?
I think a lot of American kids who are not ruined yet latch onto us and music like us because, you know, they are starving for authenticity. Subconsciously they know what is promoted on TV and the radio is not real rock & roll. Even if you fool people's minds, their guttural feeling still knows better.
Which would foster better international relations: cross-cultural music or cross-cultural bedroom relations?
Both. As a matter of fact, this is something I have been recently obsessed with. A lot of my time is taken up by DJing. I've been making mixes to screw to. Word went around that this is the fucking bomb to have in your bedroom. Now I'm a bit overwhelmed from requests to make a mix to screw to for just about everyone I know. But you know, I guess that's part of my mission.
You seem to almost defiantly keep many of your lyrics grammatically incorrect -- do you do that on purpose?
Well, I just don't see the necessity in it. What am I going to do, hire an editor who is going to sit with me every morning from the minute I wake up, 'til usually the first two, three hours of the day when I work on all the literary aspects of Gogol or my own writing? What am I gonna do, hire somebody who is going to stop my train of thought all the time? Fuck this. I've gotta deliver the message more than anything, and if my voice find itself expressed the best in the broken English, so be it. -- Andrea Noble
Words and Guitar
Drummer Janet Weiss detonates Sleater-Kinney with her mind-bending banging. In lieu of the routine riot-grrl roast, B-Sides opted to ask her questions based on song titles from the trio's kickass new album, The Woods.
B-Sides: What's your feminist take on the "Wilderness"-set fable "Little Red Riding Hood"?
Janet Weiss: I've never read any political overtones into it, but hopefully Paris Hilton will never play Little Red Riding Hood. That would be very upsetting.
What's the fascination with "Modern Girls" like Paris and Avril?
The desire to revel in this clichéd dumb girl is a model I've never subscribed to. It keeps women looking stupid. If society could accept women making important, scary, vital music, it would be revolutionary.
Do you have a "What's Mine Is Yours" relationship with listeners?
There's nothing I can say in an interview that couldn't be figured out by listening to the body of work. It gets across our love for music, community and each other. People become attached to music because it makes them understand things about others. The music says it all.
What's with the resurgence of "Jumpers" in pop culture?
That song is based on a New York Times article. What's striking is that people who survived jumping off a bridge said they regretted it the minute they stepped off the landing. Regret, sadness, loss, fear -- this is what I mean about music saying best what needs to be said. A conversation couldn't move you the same way that a song would.
Why's it been so long since you've been to "Entertain" St. Louis?
It's absolutely nothing personal -- it's whatever works out in the routing. We're making a point to go back because we haven't been in so long. There are a few places we have a poor relationship with, like Detroit. But St. Louis isn't like that.
"Rollercoaster" or Tilt-A-Whirl?
Neither. I get extremely motion-sick, so I just play in the arcade. I love all shooting games. I would never go on a Tilt-A-Whirl in a million years. I'm scared of roller coasters, but I'd say they're far superior to the twisty-turny, make-you-throw-up, whirly thing.


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I was driving south of St Augustine the other day and saw this sign on an old Mack truck parked outside a B-B-Q joint.
Just had to share.
Tuesday, May 29, 2012
7 comments:
- Falling FastTue May 29, 09:24:00 PM EDT
Drove a Mack like that one a few times in the 70's. Think it was a 49' or 51' model. No A/C and your face was probably 12 inches from the windshield. But a Mack was a Mack!
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Philanthropy and the National Trust for Historic Preservation
Generous individual, foundation, and corporate donors advance our work to save historic places in communities nationwide.
Because historic buildings lost today are lost forever, the National Trust remains as dedicated and vigilant in the face of threats to historic places as we have for the past 60 years. As we weather these challenging times, those who care passionately about historic places must remain firmly resolved to ensure that the importance of preservation is understood by public officials, corporate leaders, and the general public. The Development Department of the National Trust for Historic Preservation supports the organization's mission by focusing on the cultivation and stewardship of major individual, foundation, and corporate donors. Development staff members collaborate closely with various departments at our Washington, DC headquarters, and work with professionals in our regional and field offices to secure annual operating and program-specific funds.


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Free Philosophy Skin Care Samples
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The Elizabethtown Panthers will play in the 33rd edition of the Forcht Bank King of the Bluegrass Holiday Classic boys' basketball tournament.
The tournament runs Dec. 19-23 at Louisville Fairdale.
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Below is the poem entitled Baby which was written by poet gail smith. Please feel free to comment on this poem. However, please remember, PoetrySoup is a place of encouragement and growth.
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A baby cuddled down evening fell gracefully head in jingles keeping love merry now open pleasure quilted rest silent tranquil underlined vague willingness Xmas youthful zeal


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Owen Daniels agrees with Ravens
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Re: Owen Daniels agrees with Ravens
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The Pencil Neck
I think what we see in the NFL is that it's all about getting lucky. You have to have the right coaching staff with the right GM and the right QB and then, things have to bounce your way and you're still screwed if you get hit by injuries to the wrong guys.
The Patriots got lucky when their all-pro QB got injured and he was replaced by Tom Brady. They got lucky with the tuck rule. And then they won the SB. The next year, that team didn't even make the playoffs.
That "great" dynastic team of Belichik and Brady still hasn't been able to win a SB in the past 9 seasons.
The fans of NY have wanted to ditch Tom Coughlin many times. Eli Manning is not nearly the QB his brother is... but... given a little luck at the right time, they've won more SBs together than Peyton Manning has been able to win.
It's not just that McNair hasn't chosen the right guys (and gotten lucky), it's that it's extremely difficult to do and there is no easy/right answer. If there was some obviously right way to do it, more teams would win the SB more often.
I may not know the right way to do it but I know the wrong way to do it, especially if Corrosion is correct and Rick Smith is/was in charge of talent procurement and signed off on the Schaub/Foster/Cushing contracts.
Tell me how anybody can say in 1 breath the McNair's put winning 1st and in the next justify Rick Smith keeping his job.
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Target Corp. may boast a bulls eye as its corporate logo but the retailer has proven remarkably successful fending off attempts to unionize its workforce.
Earlier this year, workers in suburban New York City rejected an effort by the United Food and Commercial Workers (UFCW) to organize a union. The vote was 137-85.
Labor experts say unions have traditionally struggled to organize retail workers because such employees tend to frequently change jobs. Companies like Wal-Mart and Target are also quite adept at countering union campaigns. But those same experts also think Target should not rest easy.
"Target and other big-box retailers are not off the hook," Patrick McHugh, a management professor at George Washington University, previously told the Star Tribune. "On the one hand, [the vote outside New York City] was a pretty convincing victory. But a significant number of workers voted for the union. There is lots of frustration by workers with employers."
In fact, the issues of low pay and limited work hours that sparked the Target union election may be getting worse, said John Budd, a University of Minnesota labor expert. "The fact that Target fought so aggressively gives hope to unions to build on this."
I was reminded of the Target vote when the retailer was one of several to decide to open at midnight Black Friday or even on Thanksgiving Day.
Working crazy hours during the holiday shopping season comes with the territory and I'm sure many workers either don't mind or even appreciate earning holiday pay.
But there's also plenty of workers who are not particularly happy having to clock in 11 p.m. on Thanksgiving. Anthony Hardwick, a part-time worker for Target in Omaha, started a petition protesting Target's Black Friday midnight opening. The petition has attracted 75,000 signatures and counting.
Retailers like Best Buy are also hiring significantly less temporary holiday help, which means full time workers will have to pick up the slack.
Every year, retailers seem to push the envelope on holiday hours. Given retail's relatively low pay and high stress environment, one wonders at some point when enough workers respond positively to union overtures.
In other words, could Black Friday be the rallying point for the UFCW to finally succeed at Target and other retailers?
After all, the UFCW needs to win just one election for the flood gates to open.


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Alabama US System Routes
Route |
Start |
End |
Via |
Miles |
Notes |
11 |
(S) MS/US 11 near Cuba AL |
(N) US 11/GA at GA border |
Tuscaloosa, Bessemer, Birmingham, Gadsden |
Follows unsigned AL 7. Alabama's lowest US route number. |
411 |
(S) T with US 78 in Leeds |
(E) GA border |
Gadsden, Centre |
Although marked as N-S, this route is mostly E-W in the state. Mostly (except near Centre) follows an unsigned extension of AL 25. Dave Sturm's Suggestion: extend S along the quickly developing AL 119 to meet US 31. And possibly further south along AL 119 to AL 25 to AL 5 to end at US 43. |
29 |
(S) FL near Flomaton |
(E) GA near Lanett Valley |
Brewton, Andalusia, Troy, Union Spgs, Tuskegee, Auburn, Opelika, Lanett Valley |
A very zigzaggy route, one of the least useful routes in the state, and very remote where it doesn't parallel I-85 or duplex with US 31. Follows unsigned AL 15. |
31 |
(S) (Downtown Mobile at intersection of 43, 45, 90 and 98) Now, Spanish Fort T with US 90/98. |
(N) (TN border near Ardmore on what is now AL 251) Now, travels with I-65 into TN near Ardmore. |
Spanish Ft, Bay Minette, Brewton, Greenv'l, M'tgy, Clanton, B'ham, Cullman, Decatur, Athens |
Follows unsigned AL 3. Alabama's primary N-S route, now replaced completely in importance by I-65. Has been moved onto I-65 north of Athens to Tennessee, with old route marked as AL 251. No longer enters Mobile, as the former routing triplexed with 90 and 98. Dave Sturm's Suggestion: Have 31 stay due south from Stapleton following AL 59 down to Gulf Shores to recognize the importance of this routing. Froggie tends to agree. |
(31Alt) |
(W) (Downtown Mobile) |
(E) (Blakely Island, at mouth of tunnel.) |
Mobile |
Old Bay Bridge Route, allowed for traffic prohibited from tunnels under the Mobile River. Route ran with US 90A, now unnecessary with termination of 31 at Spanish Fort. |
231 |
(S) FL border near Madrid |
(N) TN border near Hazel Green |
Dothan, Ozark, Troy, Montgomery, Wetumpka, Sylacauga, Arab, Huntsville |
Follows north along unsigned AL 1 to Dothan, AL 53 to Huntsville, AL 1 to TN border. An important regional route, especially south of Montgomery. Route's N end was originally Montgomery, and was then extended north thru the US almost to Chicago! |
331 |
(S) FL border near Florala |
(N) (Downtown Mtgy at US 80, Madison Avenue) Mtgy, South Blvd (US 80/82). |
Florala, Opp, Luverne, Montgomery. |
Follows unsigned section of AL 9 to Montgomery. Dave Sturm's Suggestion: Re-extend 331 thru the heart of Montgomery, and north out of town along US 231's old route to end at North Blvd. |
431 |
(S) Downtown Dothan at S Main St (US 84) |
(N) TN border near Hazel Green |
Dothan, Eufaula, Phenix C'y, Roanoke, Anniston, Gadsden, Boaz, Albertv'l, Guntersv'l, Huntsv'l |
Follows unsigned AL 1 from Dothan to TN border. The easternmost N-S US route in Alabama. ALDOT is in the process of completing 4-laning of the route between Dothan and Phenix City. Dave Sturm's Suggestion: Renumber AL 109 and FL 77 to emphasize this other main route to the beaches from Dothan. |
(241) |
(S) Dothan at intersection of St Andrews (then US 231/AL 53) and Main Sts (then US 84/AL 52 + AL 12) |
(N) TN border near Hazel Green |
Dothan, Eufaula, Phenix C'y, Opelika, Alex C'y, Sylacauga, Talladega, Anniston, Gadsden, Boaz, Guntersv'l, Huntsv'l |
Decommissioned US route. Followed US 431 (AL 1) north from Dothan to Opelika, then north along US 280 (AL 38) to Sylacauga, then along AL 21 to Anniston, and over US 431 (AL 1) to the TN border. |
*641 |
(S) see notes, either (1) T with US 78 near Jasper -or- (2) T with I-65 or US 31 near Cullman |
(N) TN border |
Dave Sturm's Suggestion: Extend US 641 via TN 69 and other routes to TN 13, then enter AL along AL 17 and enter the Quad Cities. Further extension (1) along US 43 south to AL 5/13 to Jasper, and along old US 78 to intersect with the US 78 freeway or (2) along AL 157 to Cullman to intersect with I-65.. |
43 |
(S) Downtown Mobile with Government St (US 90/98) |
(N) TN border near Greenhill |
Mobile, Prichard, Jackson, Demop'ls, Tuscaloosa, Hamilton, Russellville, Quad Cities |
Follows north along unsigned AL 13 to near Bankston, then signed AL 18 to Fayette, then along unsigned N portion of AL 171 to Hamilton intersection with AL 17. Then follows signed AL 17 collecting AL 13 at the T north end of AL 5.Dave Sturm's Suggestion: Have 43 stay with AL 13, and number the existing 43 as 43A |
45 |
(S) Downtown Mobile with Government St (US 90/98) |
(W) MS border near Yellow Pine |
Mobile, Prichard |
Follows unsigned S portion of AL 17 and unsigned AL 57. Mississippi has either completed or is in the process of widening all of its portion of US 45 to 4 lanes. ALDOT thus far has no plans to follow suit. |
72 |
(W) MS border near Margerum |
(N) TN border near Bridgeport |
Follows unsigned AL 2. The main E-W route across the northern end of the state. |
72Alt |
(W) Intersection with US 43/72 near Quad Cities |
(E) Huntsville at intersection of US 72 and I-565 |
Follows occasionally signed AL 20 from Huntsville to Quad Cities. A redundant number from I-65 to Huntsville as it runs over I-565. Dave Sturm's proposal for US 74 would eliminate this confusing route. |
*74 |
(W) Intersection with US 43/72 S of Quad Cities |
(E)US 72/TN ? at TN border near Bridgeport AL |
Dave Sturm's Suggestion: Route from Chattanooga with US 72, then heading south along AL 279 and 79 to US 431, west into Huntsville along US 431 and along Governors Drive to I-565. Then REPLACING 72A all the way to the Quad Cities. |
*76 |
(W) MS 23?/MS 76 at MS border near Red Bay AL |
Dave Sturm's Suggestion: Follow Appalachian Corridor-V that includes AL 24 from MS to Decatur, and then with US 72A and 72 to Chattanooga. My proposal would still go to Decatur with AL 24, but then head east along AL 67 and 69 to Arab, up AL 79 to Guntersville, along AL 227 and county roads to AL 40 and then via AL 71 and US 11 to Chattanooga. |
78 |
Follows partially-signed AL 4. Corridor X portion NW of Birmingham has periodically been rerouted onto new Corridor X freeway. Corridor X portion is Future I-22. |
78Alt |
Follows the old, pre-Corridor X routing of US 78 from Hamilton to Graysville. 78A is unsigned; route is signed as AL 118 west of Jasper and AL 5 east of Jasper. Long ago, 78A existed along AL 46 from Heflin to the GA state line, continuing on GA 166 to Atlanta. |
278 |
Follows E on unsigned AL 118 to Hamilton north with US 43 and unsigned AL 171, and then signed AL 17. Takes over the rest of unsigned AL 74 to GA border. |
*378 |
Dave Sturm's Suggestion: Extension of proposed route in GA that would enter AL along GA 34/AL 22, and run at least to I-65, possibly on to Selma |
80 |
Follows unsigned AL 8. Corridor between Mississippi and Montgomery currently being 4-laned, and is also a potential I-85 extension. |
80Alt |
Old numbering in Montgomery. |
80Bus |
Old routing through Selma. Previously existed in Montgomery. |
280 |
Follows unsigned AL 38. Major route from Birmingham to Phenix City. |
82 |
Follows unsigned AL 6. 82 is a major E-W route across central Alabama and passes thru both Tuscaloosa and Montgomery. AL has entered into a multi-state compact with the goal of 4-laning 82. But aside from some segments west of Tuscaloosa, progress has been slow. |
84 |
Follows unsigned AL 12. A major E-W route across southern Alabama. As with 82, AL has a multi-state compact to widen 84 to 4-lanes, but not much progress. |
(86) |
(W) MS border near Yellow Pine |
(E) T with US 43 at Wagarville |
Old numbering for US 84 in western part of state. Until bridge near Claiborne was built for US 84, the western part of the route was numbered 86. With the completion of the bridge, 84 followed to Grove Hill, and then followed US 43 to Wagarville, and then took over the US 86 route. Now numbered AL 56. |
90 |
(W) MS border near Grand Bay |
(E) FL border near Seminole |
Follows unsigned AL 16. Formerly the main route along the Gulf Coast, but has been supplanted by I-10. |
(90Alt) |
(W) (Downtown Mobile) |
(E) (Blakely Island, at mouth of tunnel.) |
Mobile |
Old Bay Bridge Route, allows for traffic prohibited from tunnels under the Mobile River. Route was once also marked 31A, now unnecessary with termination of 31 at Spanish Fort. The original bridge was replaced with a beautiful new bridge in the 80's that was featured on the state map. 90Alt dropped when mainline US 90 was rerouted across the bridge. |
98 |
(W) MS border near Wilmer |
(E) FL at Perdido Bay bridge |
Follows unsigned AL 42. A major route west of Mobile into Mississippi. |
(98Alt) |
(N) N of Fairhope |
(S) S of Point Clear |
Former coastal route along Mobile Bay in western Baldwin County. Now signed as a county route, although ALDOT maps still show as 98Alt. Used to be part of an unsigned AL 104 extension. |


text:
Autographed Duke Snider Helmet 2
You are bidding on the following lot: Autographed Duke Snider Helmet 2. This is a valuable piece of memorabilia that can be cherished for many years to come. This wonderful piece of history is actually autographed by this icon(s) and comes complete with a certificate of authenticity. |
"Bid and invest with confidence when you purchase from Seized Assets Auctioneers."


text:
Note: To protect the privacy of our members, e-mail addresses have been removed from the archived messages. As a result, some links may be broken.
STeacherkipp_at_TeacherArtExchange Date: Sun Jul 07 2002 - 23:14:34 PDT
Judie, I AM very good at "creative cropping", even on my small pieces. So, looking at it that way, a BIG piece of paper shouldn't be so intimidating:) Susan in OR


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Source: FOOTYMAD
More Championship call offs but Cardiff is set fair
Two more Championship fixtures have been called off because of the weather. Hull v Q.P.R and Forest v Bristol City have become the 4th and 5th matches respectively postponed from tomorrow's fixture list.There's been a Premier League causualty as well. The live ESPN game between Blackpool and Man Utd is off because of a frozen pitch.The weather in Cardiff, while very cold, is snow free (apart from what's left from one week ago). The temperature has barely moved too far above freezing all week hence the snow remaining in the fields and on the roofs but we've have little more than the odd flake or two since last Friday.There have been no suggestions from the club that there could be a postponement and to be honest I can see no reason at all why Cardiff v Preston won't go ahead as scheduled at 3:00pm tomorrow.Championship postponements:Ipswich v Swansea, 12:45 Cardiff v Preston, 15:00 Coventry v Middlesbrough, 15:00 Derby v Norwich, 15:00 Doncaster OFF Barnsley, 15:00 Hull OFF QPR, 15:00 Leeds United v Crystal Palace, 15:00 Nott'm Forest OFF Bristol City, 15:00 Portsmouth OFF Burnley, 15:00 Sheff Utd OFF Reading, 15:00 Watford v Leicester, 15:00 Millwall v Scunthorpe, 17:20


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[SLAC] [SLAC Pubs and Reports]
The DIRC Particle Identification System for the BABAR Experiment.Abstract
A new type of ring-imaging Cherenkov detector is being used for hadronic particle identification in the BABAR experiment at the SLAC B Factory (PEP-II). This detector is called DIRC, an acronym for Detection of Internally Reflected Cherenkov (Light). This paper will discuss the construction, operation and performance of the BABAR DIRC in detail.Full Text
- slac-pub-10516 (5.40 MB)
Compressed PostScript
Not available for this document.Notes
The present version of SLAC-PUB-10516 was updated November 2004 to fix the problematic pages 51/71. The original version was published at SLAC in July 2004More Information
Full bibliographic data for this document, including its complete author list, is (or soon will be) available from SLAC's SPIRES-HEP Database.
Please report problems with this file to email@example.com. The SLAC preprint inventory is provided by the SLAC Technical Publications Department.
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The inevitable Russell Brand Forgetting Sarah Marshall spin-off sequel has arrived.
Thursday, February 11, 2010
John Mayer's On Stage Apology Just Makes Everything Worse
John Mayer went on a crazy four minute rant on stage last night in Nashville in an attempt to apologize for his hilariously offensive Playboy interview, which included the quote below.
"My dick is sort of like a white supremacist. I've got a Benetton heart and a fuckin' David Duke cock. I'm going to start dating separately from my dick."
john mayer
CNN Gets Prank Called
This is what you get for promoting the hell out of "snowmageddon."
"You're a dumb ass. You don't know this is a prank call?"
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Issue 5.05 | May 1997
Eight Who Made A Difference By Challenging Conventional Wisdom
Inflexible bureaucracy, top-down management, tightly regulated industries, monopoly - these are the tired remnants of the old corporate world order. The new economy demands new thinking, Yet the why-fix-it if-it-ain't-broken attitude often prevails among CEOs who are too myopic to notice that the market has evolved, let alone to envision how it will look in five years. So change often comes from within, from independent thinkers who see old problems with new eyes.
Those who break the shackles of business as usual - Corporate Rebels - set the pace for the next millennium. They are iconoclasts who question the status quo, cut through red tape, and challenge their bosses to greatness. Not all succeed and some flee to become entrepreneurs. But the smarter companies tap the uprising within, creating ways to turn the steam of the rebel into the fuel that drives the business.
Rebel Without A Pause
by Steve G. Steinberg
His arms gesticulate spastically and his head keeps bobbing and flicking between his visitor and every item that comes into view as he races down the hushed hallways of the IBM Almaden Research Center.
He's fumbling over his words, changing the subject every few seconds, then backing up, finally throwing out his hands and letting go a staccato burst of laughter before launching into a story about a cocktail party, someone named Lou, and a computer you wear on your belt.
At this point, the visitor is so convinced that Ted Selker seems too, well, flaky, to be a real scientist - he's not calmly staring off into the middle distance, loosely holding an uncapped marker in one hand, preparing to record the next flash of inspiration like others at Almaden - that it takes a minute to connect "Lou" with Lou Gerstner, IBM's CEO. And then the visitor starts wondering: How the hell did this maniac become so important to a staid corporation like IBM?
Corporate R&D labs have always been a dumping ground for misfit technogeeks. If they are a bit weird, so much the better. They can be shown off every quarter or so when the CEO takes investors on a tour of the lab: "Yep, we have some brilliant researchers here. Just look at Ted! He's almost as crazy as Einstein!"
Selker, 41, seems like a natural for this role. His angular face is framed by his annual winter beard, and he's breathtakingly smart, with an appropriately esoteric academic background. As an undergraduate at Brown University in 1978, he built an electronic simulation of how the eye focuses and then went on to study brain modeling and AI at the University of Massachusetts and Stanford. In his spare time, Selker used his restless energy to climb peaks like the 20,702-foot Chimborazo in Ecuador and to carve a 6-ton oak sculpture.
He worked at Atari's think tank during its heyday in the early 1980s and moved over to Xerox PARC in 1984. Both labs were full of rebels who invented brilliant things and ... were ignored!
But Selker has managed to break that pattern. You know the little red positioning button used on the ThinkPad? That's his. Called the TrackPoint, it is the biggest improvement in pointing devices since the mouse. IBM tripled its notebook production every month for four months after the TrackPoint arrived. Two other IBM notebook PCs introduced without a TrackPoint were both discontinued.
Selker never really fit in at Atari or Xerox. So in 1985, when IBM asked him to join its T. J. Watson Research Center, he accepted. "I wanted to show I wasn't a flake," he says. He wound up joining as a lowly advisory programmer because he didn't have a PhD, and he kept getting slapped down by management. But he was starting to learn a few tricks for getting his way within the IBM bureaucracy.
One day, Selker noticed that people were slowed down by always having to reach for the mouse. If some kind of joystick device could be integrated with the keyboard, then users could keep typing. Selker experimented with different tracking algorithms and created hundreds of plastic mock-ups, finally ending up with a stubby plastic shaft that fit between the keys.
Now came the hard part: to have his pointing device used in one of IBM's laptops, he had to win over Satoru Yamada, the IBM Japan engineer heading up that research. Satoru wanted an alternative trackball device and objected to Selker's TrackPoint because it left an imprint on your finger. That was ridiculous, thought Selker. It was like criticizing a Ferrari because the clutch was stiff.
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